April 19 2014

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33 posts tagged "Dior"

Flashback Friday: The Eyes Have It



Flashback Friday is a feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.

The Model: Christy Turlington

The Moment: Bejeweled Lids

The Motivation: At first glance this may not appear to be a beauty shot, but look a little closer and you’ll be sure to spot Christy Turlington’s sparkling lash lines. Much has been placed on lids in the past: neon stickers at Atelier Versace; gold string at Dries Van Noten; neoprene at Fendi; lace, pearls, and jumbo glitter at Chanel. And Fall 2014 was no different. Makeup maestro Pat McGrath created incredibly beautiful “mothlike” lashes and brows at Alexander McQueen with hand-cut feathers, and used liquid latex instead of standard shadow at Dior. And seeing as eyes are the windows to the soul, why not add some extreme embellishment to attract even more attention?

Photo: Arthur Elgort for Vogue UK, 1990; courtesy of

The Makeup Magic Behind Dior Beauty: Peter Philips Tells All



Some of the biggest backstage hits—Chanel‘s painterly eyes (Spring 2014), Fendi‘s neoprene eyeliner (Spring 2013), and Dries Van Noten‘s gold-laced lashes (Spring 2014) —can be chalked up to one man: Peter Philips. He’s also the brain behind such sellout hits as Chanel Le Vernis in Jade and the brand’s pearl and lace temporary tattoos. And when the news broke that Philips landed at Dior as the house’s new creative and image director for beauty, I think the angels started singing (or was that just beauty editors squealing with delight?). It’s almost as if his career has come full circle—seeing as his pivotal makeup moment happened on a Raf Simons shoot, during which he drew Mickey Mouse’s mug in perfect scale on a model’s face. “People flipped out,” Philips noted in an earlier interview with “They really remember the spectacular things you do, and the pure beauty things they take for granted. I learned a lot from that.” Here, the master of makeup invention provides a sneak peek of what he has in the works, which I expect is nothing short of spectacular.

What is your vision for Dior Beauty?

My personal vision on beauty doesn’t really change. The tools are new for me. My vision of beauty is that I put the woman first—especially individual beauty—and I’m hoping to be able to create palettes and colors and products that will enhance that beauty, but of course be in [step with the] DNA of the house. The Dior woman is like a hyper-feminine woman—she loves color…I’ve got this little one-liner that I always use: All women want to be beautiful, but not every woman wants to necessarily be fashionable, and I keep leading in that. Of course fashion—because this is also a fashion house—is a great locomotive, a great tool to play with, to attract women with, and to tease and to play with, you know? It can push or pull her attention toward a lipstick or a nail polish or a foundation that maybe a girl normally wouldn’t go for. It’s all a game of seduction, and that’s a strong card for Dior.

When you say that all women want to be beautiful but not necessarily fashionable, how do you plan to appeal to the woman who doesn’t want blue latex eyeshadow or glitter?

That’s the whole thing: Dior is known for the bold colors and everything, but they also have an amazing line called Nude, which is basically about that natural beauty. They have great formulas, and the labs are also working on new [ones]. I mean, I’m here now for three weeks, so I’m jumping from one meeting to another and getting to know everybody who works behind the scenes, and I’m blown away by what I’ve seen. I mean, the innovation in the house is so ahead [of the pack]—they’ve got fantastic laboratories. Those technologies and the knowledge they have—it’s great to work with that.

Is there a particular formula that you’re very excited about?

Yes, I actually just got introduced to a new foundation coming out soon, and the first show I’m going to do for Dior will be a Cruise collection in New York in May. I don’t know what the look is going to be but already know which foundation I’m going to use.

Speaking of show season, how closely will you work with Raf Simons day-to-day?

For that I think I’m mainly working on makeup looks for the catwalk, like I did, for example, when I used to work with him at Jil Sander. Of course I’ll be trying to get my new stuff in if there’s a place for it! And of course I’m going to try to make it to work if he wants something specific…if I need to make something especially for him, I will do that. The team behind me is ready to go for it, and they’re all very excited.

I know you’ve worked with him for more than two decades, and he’s really been pushing the envelope in terms of the look the past few seasons, with the gold brows and latex eyes. What is his aesthetic as far as beauty is concerned?

It grew—his aesthetic on beauty really grew. I’ve been doing his men’s shows since the early days, and then we did Jil Sander. He was very uncomfortable with makeup in the beginning because he didn’t want [the models to look like] they were made up, so that’s why we started off with very natural-looking but kind of severe, strong women. He was inspired by Kees van Dongen [for Jil Sander's Fall 2011 collection], and of course there was color in the paintings, so that’s when we started to introduce color, and we started off with a great lipstick—a vibrant shade on the lips. He started to appreciate makeup more and more, which for him is maybe a different thing than beauty. He sees makeup as a thing, which can be used to accessorize or to dress up.

What are you thinking of in terms of creations for the future? Have you already started developing new products?

I’m just starting to breathe and brainstorm. Every conversation I’ve had here [at Dior] has turned into a brainstorming session. Everybody was taking notes, and I had so many questions. I jumped on this [moving] carousel, this makeup train, and step-by-step my input will be seen. It’s not that everything stops now and you start over again.

When will we see your input hit shelves?

The first actual collection is Autumn 2015—still a long way away. But in the meantime, I’m working on a project for Christmas. It’s very exciting because it’s a smaller project, so we can easily fit it in. Of course, for Spring and Summer, the collections are already in the pipeline. I just jumped in and gave my advice on some things that could still be changed if needed.

Will you be working on ad campaigns similar to some of the projects that you did during your tenure at Chanel? I remember very vividly the makeup robots. Will you be doing anything like that with Dior?

That’s the idea, yes. I’m the Creative Director of Makeup and Image, so it’s kind of new for [the brand] as well…My name will be [associated with the product], so I have to stand behind it the whole way. I’m a big fan of visual communication, I love playing with the Internet, making films, and all that stuff—it makes it even more fun and it can make the message you’re trying to pass on much more accessible.

I can’t wait to see what you come up with. You’ve had so many product hits in the past, some of which are still sought after today on eBay. How do you develop those must-haves?

The thing is, I observe a lot and I listen. I travel a lot because of my work. Whenever I do interviews, especially when it’s about launches of products or when I work with beauty editors, they give the best feedback. A beauty editor from Korea will tell you so much more about Korean women and their needs and their desires than, for example, somebody Paris-based who does the marketing research on Korean women. You have true feedback, which is not pushed by any motive other than trying to be beautiful. I think it’s very interesting to get that feedback, and I listen. For example, everybody keeps talking about the nail polishes I did [at Chanel], but it was bound to happen—I just had the tools to play with and I knew there was a desire. I listened to my girlfriends and women that I know—I knew something was going to happen with nails—and just played around with it and wasn’t afraid. It wasn’t a risk—doing a funky new nail shade is not taking a risk—it’s just fun. And then being able to link it with shows gives [the polish] great visibility. When makeup becomes an accessory, it has a reason to exist…And that’s what I think women like, when they get something new in front of them and it’s there for a reason—it’s not just there for the sake of being there. When it has a reason to exist, they will go for it.

Obviously you’ve worked with a very famous French house before. How do you feel working with Dior will differ from Chanel?

The DNA, I mean, it’s totally different. The only thing they have in common is that both are French houses…Everybody is so mysterious about it, the other house, but I had a great time at Chanel. I did what I could do for the house, and it was fantastic to work with them. But if you look at the style of the house, it’s night and day. It’s a totally different type of woman. The codes of the house are different. Like I said, Dior is hyper-feminine, it’s colorful. It’s not that one is better than the other—it’s just different.

Fair enough. In your opinion, what is your beauty signature and how will you bring that to Dior?

Beauty, for sure—and excitement. It’s going to happen through color and formulas. I’m a storyteller—whenever I make a collection, I try to tell a story, and I hope the stories will be exciting.

There’s no doubt I’ll be completely captivated.

Flashback Friday: A Nineties Case for Blue Eyeshadow


laura-ponteFlashback Fridays is a feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.

The Model: Laura Ponte

The Moment: Baby Blues

The Motivation: There’s nothing new about blue eyeshadow, but what can be surprising is the way in which it is applied. At Dior’s Fall 2014 show in Paris a few weeks ago, we watched as makeup artist Pat McGrath swathed latex paint in a cerulean shade across models’ lids. The idea was fresh, supercool, and, quite frankly, a stroke of genius. We imagine McGrath might have been inspired by an image similar to this one from a nineties issue of Elle Germany, but her ability to look at a trend that took off in the eighties and add an interesting, high-tech twist is a perfect example of a pro taking inspiration from the past while still looking toward the future.

Photo: Friedemann Hauss for Elle Germany, 1990, courtesy of

Olivia Munn Talks Brows, Breakouts, and Her Own Bridget Jones Moment


BVLGARI "Decades Of Glamour" Oscar Party Hosted By Naomi WattsWhen it comes to sex symbols, men and women don’t usually agree. The Hollywood “hotties” (as they are so frequently dubbed by teenage boys…and way-past-their-teen-years boys) that appear on the covers of men’s magazines don’t often strike a chord with the ladies. And then there’s that rare breed of smoke show that has the ability to win over both. Case in point: Olivia Munn. Not only is she intelligent and unafraid to lay down the law (calling out Jezebel’s criticism of her being hired at The Daily Show in an interview with Ocean Drive magazine: “Are you saying that you can only be funny and smart if you’re ugly? If the embrace of my sexuality makes you mad, it’s your problem, not mine.”), but she knows how to rock tangerine lipstick and work a bob. After our conversation (and this rarely happens), my first thought was this: “That girl is badass and I want to hang out with her.” She even revealed the journalism skills she picked up at the University of Oklahoma and started asking me questions (again, this rarely happens). Here, we talk everything from her skin secrets to sleepovers with Johnny Depp.

I heard that you got hooked on Proactiv after swiping it from your cousin. It’s hard to imagine you having anything close to acne.

When I was 16 I moved from Japan to Oklahoma, and it was either the weather change of going from one country to the other, or it was because I was the new kid in a new school and had a lot of anxiety and stress, and I got this massive breakout on my forehead. It’s hard enough being the new kid in school, but now I had to walk around with a massive amount of pimples on my forehead. I never had acne and I tried everything. This was when people were doing really hardcore things—whatever burned the most you felt like that was working. I was like Oxy pads, “Burrrnnn.” And then my cousin said to me, “My mom ordered me Proactiv, do you want to try it?” So I gave it a try and it all completely cleared up in less than a week .”

At least those days are behind you.

Weirdly enough, in 2013…all of a sudden out of nowhere I get this cystic acne on my forehead, neck, and below my ears that wasn’t going away.

What do you think caused that?

I think it was a hormonal change, but I was also on this medicine for ten days and then I got off the medicine and something happened in my body that triggered this horrible outbreak. I was shooting a movie [at the time] with Eric Bana, who is so gorgeous, and I was playing his wife, and I was like, “Oh my gosh, this is the worst.” So I got injections in my face from a dermatologist, which just collapsed my skin in certain places. Other costars, I would say, “It’s fine, it’s fine,” but the only costar that I would truly like to look nice for would be Eric Bana…I actually haven’t done a lot of make-out scenes with people in my career, I really haven’t.

Well, Eric Bana isn’t a bad place to start.

Not a bad place to start, unfortunately my acne wanted to come out, which I completely understand because I’d want to be there too if someone was hanging out with Eric Bana. So I tried everything—from acupuncturists, to a dermatologist, to Acutane…and then I came home to Proactiv+ and started trying it…thankfully I got to meet Johnny Depp with clear skin.”

Speaking of Johnny Depp, did he or Gwyneth Paltrow share any beauty secrets with you on the set of Mortdecai?

Gwyneth and I bonded quickly. I had gone to Tracy Anderson once before, but I wasn’t sure…so I started doing Tracy Anderson more and more. But that’s not really one of her beauty secrets anymore…

No, I think she’s converted quite a few at this point. What about Depp or Ewan McGregor, any good tips?

Ummm…no. If you want to be more philosophical about it, the best beauty tip you can get from them is to be nice. They were laughing and joking with everybody. There are some really mean people who are very beautiful, but they don’t radiate beauty. And these guys look so freaking young. And I worked with Jeff Goldblum and his skin looks super young. I didn’t really venture into asking them their [secrets], but I’m going to e-mail the guys and say, “You know what, we never got a chance to girl talk it out.”

You should just have a slumber party.

“Oh my gosh, it’s going to be me, Johnny, Ewan, and Gwyneth putting Proactiv masks on each other.”

What are your makeup must-haves at the moment?

My makeup must-have is the Dior Brow Styler that twists up. I can’t live without this. It’s the right color and the consistency is really great. My go-to used to be cream blush, but now it’s just the brow pencil.

It’s the Cara Delevingne effect.

I think being [half] Asian, my brows have always been really important for whatever reason. I had a makeup artist over-pluck my eyebrows a few years ago, so ever since that happened the Brow Styler became my friend. What’s your go-to?

My go-to? It would probably have to be Clé de Peau concealer.

Really? I was using that for a while, but it felt a little thick at times. Did you feel that?

I think if you use it over your moisturizer it somewhat thins it out. My new favorite, though, is the RMS Un Cover-Up.

I have that in my purse right now! I’m tapping it right now—you can’t see me, but [sound of tapping] that’s me tapping it. I use the Proactiv+ Eye Brightening Serum underneath and then I put the RMS Un Cover-Up on top of it and it reflects the light and makes such a difference. The RMS Un Cover-Up is so great because it’s not thick…I also put the undereye brightener and concealer around my nostrils—it really makes you look a lot more youthful.

Aside from the over-plucking incident with the makeup artist, what was your biggest beauty mistake?

I’ll actually tell you the event, most people won’t do that, but I will so that you can see exactly [what I’m talking about]. I was on the GQ Men of the Year Awards in London presenting the award to my boss [Aaron Sorkin]. It was at night and I had a Bridget Jones moment because I was in the car with my girlfriend and I said to her, “Do I have enough blush on? I think I need more blush.” And in some of the pictures it looks nice, but I’d say 80 percent where the flashes are hitting me, it’s like, “Wow, calm down with the blush.” All of my choices were so bad: It’s dark, inside of a car, without a mirror, and I’m on my way to a red carpet. If you look up GQ Men of the Year Awards, my name, London, and I was wearing this Armani dress—my blush is so intense. I was totally like, “Yeah bitch, this feels good, this feels hot. I’m ready to go. Watch out, London.”

I’m looking that one up on Getty.

“Yeah when you see the pictures you’ll look at it and say, “It’s better to look pale than to look like that.”

[Editor’s note: I did look up the photo on Getty, the blush was a bit extreme, but when you look like Olivia Munn, I doubt anyone is looking at your cheeks…well, at least the set on your face.]

Photo: Getty

Dior’s New Mani Man


anatole-rainey-cropWhen Anatole Rainey, the freshly appointed Dior International Nail Designer, first came to Paris, it was to learn French. As fate would have it, he found himself behind the scenes at fashion shows and on shoots, putting his hobby—painting—to work for the likes of Cate Blanchett, Keira Knightley, Kate Moss, and Gisele Bündchen. “I just started helping out a manicurist friend and it kind of turned into a job,” he explained with characteristic modesty.

And not just any job. Today, Rainey splits his time between his native London and Paris, where he brings his considerable talents to Dior’s ever-expanding line of lacquers. “The relaunch of the Dior Vernis polish is exciting because I love color, shine, and shading. It has the finish of a gel, and the adhering power of techno polymer glass technology,” he said, bringing it all back down to earth with, “[This new formula] really grabs onto the nail.”

Rainey’s not giving anything away, of course, but already the limited-edition Nail Artistry Box (launching April 1 in Europe) makes it possible to paint Monsieur Dior’s favorite symbols—such as stars and clovers—onto the nail. (One of his favorite looks for summer: sailor blue stars on an otherwise transparent nude manicure.) “Some people love 3-D nail art, but I like to interpret it in a slightly more chic way. It’s more graphic and simple,” he said, adding, “Let’s just say there’s more to come than nail polish.”

Photo: Alexandra Utzmann